Tag Archives: Mark Anthony Turnage

A great articlein The Guardian (Mon 2 Jan) featured artists from various disciplines offering tips on creativity, inspiration and realising ideas. Placed in the arts section, it would be silly to criticize the piece for lacking a wider field of professionals, but I did find myself wishing for contributions from those in other areas of expertise e.g. science, engineering, social policy, education. The wider the field, the more boldly common themes tend to stand out.

In this regard I have to say that I’ve always found it something of an irrelevance that, in school life, Music is grouped together with, say, Art or Drama. As far as academic side of Music goes, I feel it has most in common with Language(s) and then Maths. Actually, on this point, let me bore you with another possibly pedantic personal opinion: it is often claimed that Music and Maths are very closely related. I think this is an overstatement. Music and Arithmetic are closely intertwined but Calculus, Trigonometry, Algebra and Geometry rarely darken my door – unlike alliteration. Certainly as regards the honing and analysis of technique, then Music has as much in common with PE as any other subject – and let’s not forget teamwork!

Returning to the article, I was pleased to see that composer,Mark Anthony Turnage, scotched the idea of inspiration allowing us to avoid hard graft. Fortifying this take on the creative life, he cited various details of working method: routine; a quiet place to work; the difference that time of day can make. He opines that “the afternoon is the worst time for creativity.” It can feel like the worst time for learning and teaching. Many pupils (and possibly staff) seem to undergo a dip around 2.00-3.00 and perk up when within sight of the home straits. In the unlikely event that I am charged with redesigning the school day, I will opt for 7.00-2.00, freeing up the afternoon for siesta, meditation, reading or sport. Turnage also feels his critical eye/ear to be more lenient in the evening, often necessitating morning revision.

Susan Philipsz, has some very straightforward suggestions: “keep it simple” and “be audacious” and, in similar spirit to Turnage, “if you have a good idea, stick to it. Especially if realising the project is a long and demanding process, try to keep true to the spirit of the initial idea.”

Singer/song-writer, Martha Wainwright, confesses to a piecemeal approach: “I write in short spurts – for five, 10, 15 minutes – then I pace around the room, or go and get a snack.” Playwright,Polly Stenham, touches on the physical side, advising us to “go for a walk.” Author, Haruki Murakami(in another article) takes this much further. “When I’m in writing mode for a novel, I get up at 4:00 am and work for five to six hours. In the afternoon, I run for 10km or swim for 1500m (or do both), then I read a bit and listen to some music. I go to bed at 9:00 pm. I keep to this routine every day without variation. The repetition itself becomes the important thing.”

Artist, Polly Morgan, stresses the fruitfulness of a cross-curricular approach: “Don’t restrict yourself to your own medium. It is just as possible to be inspired by a film-maker, fashion designer, writer or friend than another artist. Cross-pollination makes for an interesting outcome.” Harking back to my first paragraph, I would widen this field considerably. Morgan also seems willing to embrace the tough choices which many of us would prefer to avoid: “Don’t be afraid to scrap all your hard work and planning and do it differently at the last minute.” I have certainly found this approach indispensable upon arrival at gigs which differ widely from their description.

Director, Ian Rickson, encourages us to “embrace new challenges. When we’re reaching for things, we tend to be more creative.” This reminded me of an inspirational idea byJoe Zawinul, keyboard player and founder member ofWeather Report(and incidentally one of the few who seemed able to write music which was happy but not inane). In his 7th decade, there was more chance than ever that his improvising would fall into favoured patterns. In a bid to stumble upon new sounds, he programmed one of his keyboards so that pitch ran in reverse order. Playing this, along with others formatted in the normal way, many novel ideas emerged which would not have occurred to a trained hand and ear.

Musician, Gus Garvey(Elbow), recommends the practice of bringing together two unrelated ideas. I recall coming across this inEdward de Bono‘s 1973 book, Po.

Perhaps my favourite sound bite from the piece comes from opera singer, Kate Royalwho reminds us that, “art is everywhere.” Taking the word art as a synonym for inspirational practice then, with providers and consumers of public service having to produce more with less, this seems like as good a way to step into 2012 as I can imagine. Happy New Year!